Avalon Fast’s Camp looks to be part of that recent trend of witchcraft stories, yet what sets this movie apart is its approach to magic. So often, the presence of witches would suggest a lot of destruction (in both the past and the near future). By no means is Camp short on hurt as provocation. In an energizing change of pace, though, the spells enacted by this one particular coven bring the complete opposite of pain. 

Camp finds itself in harmony, not contention, with its dreamlike parts. Even when a scene comes across as straightforward, there is still something rather surreal in its presentation. Take, for instance, that game of truth or dare that prefaces the story’s inciting incident. Zola Grimmer’s character is pressed to dish out a juicier truth that, ultimately, goes on to make her audience feel both engaged and uncomfortable. The whole quality of this moment is similar to that of our most mortifying dreams.

As the title indicates, the movie takes place at a summer camp. This, of course, is only after Grimmer’s character, Emily, has been directly involved with another person’s death. This time, it’s the loss of a loved one, as opposed to a stranger, that sends the protagonist into a deep and guilt-ridden depression. Emily’s father (Michael Tan) then helps turn things around by signing Emily up to be a camp counselor. That’s when the movie enters more familiar territory, in terms of genre, but astonishingly, Fast doesn’t ever settle into the same-old routine that we now associate with these sorts of camping trips.

Zola Grimmer as Emily in Camp.

Grief and trauma are always on display here. From Emily becoming something of a death magnet in her life, to the other camp counselors working through their own private issues, this movie doesn’t ever avoid personal tragedy and suffering. However, these components of the story are handled with a kind of care that doesn’t come up often enough in modern horror. Rather than sensationalizing or exploiting Emily’s pain, there is an aware attempt at helping her. And not just using the cinematic tactics that would force the character to confront her fears, either.

Camp has the setup for a more traditional-acting horror movie. A bunch of young women ominously head off into the woods, unaware of all the potential terrors that could be waiting for them. Even the trailer implies a sinister movie. In contrast, though, Fast goes the opposite way of addressing Emily’s problems. Most importantly, this new direction is without the act of creating more trauma for the main character.

What sounds unfeasible, especially for a movie marked down as horror, is actually quite the refreshing approach to a very common concept nowadays. Yes, simple revenge has its perks and fans, as does the paring down of casts until only one person is left standing. But opting for restoration, as opposed to destruction, in dark scenarios is surely also worth exploring.

Deeply felt, textured, and always self-questioning, Camp is an extraordinary movie that goes to some unexpected places. The gorgeous presentation alone is one rife with beautiful nature and spotted with haunting, otherworldly imagery. Performance-wise, Grimmer makes a tremendous debut here; she and co-star Alice Wordsworth have this growingly incandescent chemistry that lights up all the right parts of the story. Overall, Camp is a pleasant surprise that is light on conventional horror but never low on compassion for its characters.

Camp plays in select theaters on June 26.